Comments on: SHELVE – notes from the archive http://www.lucazoid.com/bilateral/shelve-notes-from-the-archive/ /// art / exchange / events / re-enactment /// Tue, 10 Jan 2012 11:33:47 +0000 hourly 1 http://wordpress.org/?v=3.1.2 By: Lucas http://www.lucazoid.com/bilateral/shelve-notes-from-the-archive/#comment-4100 Lucas Fri, 26 Dec 2008 07:42:35 +0000 http://www.lucazoid.com/bilateral/?p=3#comment-4100 Hi Ruark Thanks for your comment, sorry it's taken so long to reply! I've edited the interview above, as you requested, to delete the original typo. Yes, I agree with you that after spending many years on the shelf, itself, SHELVE really enjoyed stretching out in its bibliographic context at the Cross Art Books. Thanks for curating the show! cheers Lucas Hi Ruark
Thanks for your comment, sorry it’s taken so long to reply! I’ve edited the interview above, as you requested, to delete the original typo.

Yes, I agree with you that after spending many years on the shelf, itself, SHELVE really enjoyed stretching out in its bibliographic context at the Cross Art Books. Thanks for curating the show!

cheers
Lucas

]]> By: Ruark http://www.lucazoid.com/bilateral/shelve-notes-from-the-archive/#comment-265 Ruark Sat, 16 Feb 2008 14:35:43 +0000 http://www.lucazoid.com/bilateral/?p=3#comment-265 Hi Luca I think we should have corrected the first question, cannot really see the use in entertaining my typo. Interviews can become shaped forms - I made an interesting experiment with anthropologist Roslyn Poignant quite a few years ago. We worked collaboratively to write both the answers and the questions. It was a remarkable way to work on ideas and documents. I think in this exchange we failed to have a wholesome dialogue. My apologies. The initial questions went out - but only one-way sort of. Reading your response today 17/2/2008 the document seems too stiff and wooden - but perhaps that reflects the nature of the work of art. What I thought was very interesting was it's location. Surrounded by stacks of books, wooden typeface, sure bracing with it's fixture to the wall. The colour too seems to have a sense, but it was found, the colour determined by chance. I feel your more concise language works have appealed to me like interesting concrete poetry does. Emmett Williams and Jackson Mac Low, of course Cage and Filliou, Vautier, Maciunas Knowles engaged language and shaped then as formal scores, and the performative extension was driven so often in it's ground by a musical cross-over. well their medium was their massage cheers Ruark Hi Luca
I think we should have corrected the first question, cannot really see the use in entertaining my typo. Interviews can become shaped forms – I made an interesting experiment with anthropologist Roslyn Poignant quite a few years ago. We worked collaboratively to write both the answers and the questions. It was a remarkable way to work on ideas and documents. I think in this exchange we failed to have a wholesome dialogue. My apologies. The initial questions went out – but only one-way sort of. Reading your response today 17/2/2008 the document seems too stiff and wooden – but perhaps that reflects the nature of the work of art. What I thought was very interesting was it’s location. Surrounded by stacks of books, wooden typeface, sure bracing with it’s fixture to the wall. The colour too seems to have a sense, but it was found, the colour determined by chance. I feel your more concise language works have appealed to me like interesting concrete poetry does. Emmett Williams and Jackson Mac Low, of course Cage and Filliou, Vautier, Maciunas Knowles engaged language and shaped then as formal scores, and the performative extension was driven so often in it’s ground by a musical cross-over.
well their medium was their massage
cheers
Ruark

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